captures a concept that has taken others many
words to express: art serves a greater purpose.
Art can make us feel a range of emotions and
transport us to places that we never thought
possible.

to present this carefully curated collection of

paintings, prints and sculpture. Spring is a time
of reflection for me as I look forward to leaving the
dreariness of winter behind and the world begins
to come alive again. I think over the past year, and

reflect on the ups and downs, accomplishments

The enormous variety of pieces offered in this
sale represent stories and, as Motherwell says,

experiences. Each piece has meaning beyond
the surface: why was this piece created, who
or what does it represent, whose hands has

it passed through? These questions lead the
viewer on what can be a deeply personal journey.

Painting and sculpting is, after all, a vulnerable

kind of work. The artists have poured themselves
into an image and put it out there for us to judge.

In this sale you will see 18th-century British
portraits,

I believe April in New Orleans is a perfect time

French

Impressionist

and

Post-

Impressionist paintings, examples of orientalism,
contemporary

Southern

regional

works

and

many others. It is a celebration of the visual arts,
spanning many continents, styles and genres.

and disappointments, and am always reminded
of life’s infinite possibilities.

A city as complex and layered as New Orleans

also provides a fitting backdrop for an auction as
diverse as this one. It is a city steeped in history

that continues to be shaped by the many distinct
cultures and individual characters that call it
home. This unique landscape and flavor has
made it a haven and an inspiration for artists for
centuries.

I invite you to explore this catalogue with an open

mind, looking at each work and reading the notes

as they may open a window into new worlds and

hopefully peak your interest enough to inquire

further, or even better, come visit us here at New
Orleans Auction Galleries.

Jelena James
Director of Fine Art

donald stuart caulkins, sr.
Brentwood, Tennessee

Donald Stuart Caulkins, Sr. attended St. Joseph
Juniorate, Peabody, MA. Following high school, he
entered the Air Force, becoming a Command Pilot
with the Tactical Air Command and eventually rising
to the rank of major by retirement. Caulkins served
three tours in the Vietnam War, flying 86 ground attack
missions targeting the Ho Chi Minh Trail in Laos and
Cambodia with the 56th Special Operations Wing,
Udorn, Thailand. Major Caulkins trained scores of
Hmong pilots to fly the AT-28D Trojan fighter-bomber
in â&#x20AC;&#x153;The Secret Warâ&#x20AC;? in Laos.
Caulkins was awarded The Distinguished Flying
Cross for displaying extraordinary aerial heroism by
repeatedly attacking a heavily defended ammunition
depot. Piloting the C-130 Hercules he assisted in
the tactical development of JATO rockets, the Fulton
Recovery System, Arctic operations, and the in-flight
recovery of Corona satellite film dropped from space
during the Cold War - earning two Air Medals among
other decorations. Thousands of Army Airborne troops
jumped from his plane during his time at Sewart Air
Force Base, Smyrna, Tennessee.
He was a staff member of the Inspector General,
United States Air Forces (USAF) in Europe, and also
at USAF Headquarters at the Pentagon, serving as the
Officer of the Day for the Air Force worldwide. During
his military service, he earned a Bachelor of Arts at
Syracuse University; a Masters of Public Administration
from University of Pittsburgh; and a law degree from
George Washington University.
On loan to the Justice Department he served as an
Assistant Deputy Attorney General of the United States
and then retired from military service. Upon relocating
to Franklin, Tennessee, he served as Chief Deputy
Attorney General for the State of Tennessee where
he led the go team to remove Governor Ray Blanton
from office and wrote the legislation establishing the
compensation and benefit system for District Attorneys
and Public Defenders.

Entering private practice as a trial attorney with his
wife and legal assistant, Yvonne, and son, D. Stuart
Caulkins, Jr., he practiced law for 25 years until
retirement in 2005.
New Orleans Auction Galleries is pleased to offer
paintings from the Estate of Donald Caulkins, Sr.

The triptych offered in this sale, dedicated to the story of the
Nativity, is a fine example of the Antwerp Mannerist School.
This is not to be confused with the Italian Mannerists as the two
vary greatly stylistically and thematically. The central panel is
devoted to the scene of the “Adoration of the Magi”, which was
probably the most popular of scenes executed by artists of the
movement. It is flanked by the “Nativity” and “The Rest on the
Flight to Egypt”. This style of painting is known for its rich use
of color, extravagant scenery where Gothic and Renaissance
architectural elements merge unabashedly; the asymmetrical
composition; lack of harmonious perspective and scale
(unlike Italian Renaissance examples); lavish costuming,
and an unnatural source of light. “Adoration of the Magi”, with
its inclusion of the exotic kings bearing gifts, perfectly lends
itself to this theatrical tableau, creating a sense of drama and
evoking an emotional response. Writing in the mid-sixteenth
century, the Portuguese painter Francisco de Hollanda
recorded what he claimed was Michelangelo’s opinion on the
achievements of Flemish Renaissance art: “Flemish painting,
slowly answered the painter, will generally speaking, please
the devout better than any painting of Italy, which will never
cause him to shed a tear, whereas that of Flanders will cause
him to shed many.... In Flanders they paint with a view to
deceiving sensual vision.... They paint stuffs and masonry,
the green rivers and bridges, which they call landscapes,
with many figures on this side and many figures on that....”
Although the Northern Mannerists appeared before the
Reformation of 1516, it is those same qualities described

by de Hollanda that appealed to the personal form of
religious expression that the Protestants encouraged.
The Reformation is also most likely responsible for the
emergence of new, secular themes in art such as landscapes
and portraiture. Whereas in the previous century, the
religious and secular comingled in devotional painting,
the sixteenth century witnessed a segregation of those
themes. Of course, these new artistic developments
could have happened without the economic prosperity.
Antwerp in the early part of the 16th century emerged as the
financial and trading center of Northern Europe, surpassing
Bruges. This economic climate attracted artists from all
over Europe, who set up workshops and produced large
quantities of personal devotional works for both local
consumption and export. Albrecht Durer, visiting the city
in 1520, commented in his diary on the persistent carnival
atmosphere on the streets of the city, especially during the
Feast of Assumption of the Virgin. He also commented on the
“awesomeness” of the artists guild of St. Luke, which as all
other guilds in the city, was well organized and whose records
give ample testimony to the sudden influx of foreign artists.
The Northern Mannerist movement lasted only a few decades,
although it emerged again at the turn of the century. The 17th
century saw an artistic boom due to the large workshops of
the popular Peter Paul Rubens and Jacob Jordaens, but as
the economy began to decline toward the end of the century,
Antwerp ceased to be the artistic center it once was.

$6,000‑$9,000
Caspar Netscher, a German-born artist, assimilated
the character of the 17th-century Dutch genre style
of his master, Gerard Terborch, into portraiture,
characterized by sumptuous dress and settings.
Following his apprenticeship with Terborch,
Netscher journeyed to Italy, studying the lighting
and composition of Renaissance and Baroque
masterpieces, which he incorporated into his
work through the use of lighting and the diagonal
composition. Through the synthesis of these two
genres and styles, Netscher was able to introduce
a distinctly international style to the Northern
Netherlands through his adept handling of costly
silks and brocades, as is evidenced in the portrait
offered here. The blue taffeta and white silk fringed
in lace are dramatically thrust upward in a dazzling
array of textures rendered through the bravura of
chiaroscuro. The finery of the woman’s dress, as it
ensconces her bosom, are a still life in itself, mirroring
one of the rare melons at her feet. Both are exotic
beauties for the taking of the affluent connoisseurs
who patronized Netscher, making him one of the
most prolific Dutch artists of his time. His works are
conserved worldwide in major museums, such as
the National Gallery, London; Amsterdam Museum;
Uffizi, Florence; and the Staatliche Museen, Berlin.
5

11
Jakob Bogdani
(Hungarian/London, ca. 1660‑1724)
“Exotic Birds in a Park with Hunting Dogs and a Still
Life of Fruit”
oil on canvas
signed lower left, verso with various old auction
inventory stencils in black and a “Robert Dirstein”
(Ontario/New York interior designer) label.
Framed.
39‑7/8” x 40‑3/4”, framed 42‑1/2” x 43‑1/2”
$12,000‑$18,000

10

Jakob Bogdani, a native of Presov, Hungary,
moved to Amsterdam in 1684 where he was trained
in the Dutch Golden Age tradition of the masters
Melchior de Hondecoeter (1636‑1695) and Willem
van Aelst (1627‑1683) - who specialized in still
lifes with wild game and flowers. In 1688 Bogdani
traveled to London, where he would remain for the
rest of his life, seeking employment first with William
III, Prince of Orange, before being appointed
court painter to Queen Anne. Under the tutelage
of the court, Bogdani achieved great success,
earning commissions from some of the most
esteemed aristocrats, such as Queen Mary II and
Admiral George Churchill, brother of the Duke of
Marlborough. Churchill, one of his chief patrons,
owned the famous aviary at Windsor Park, affording
Bogdani ample access to the many fine pedigree
dogs and exotic birds he depicted like the fine pair
of dogs and parrot in the painting offered here.
Bogdani’s superb still lifes typically featured the
imported goods of London’s rich maritime trade;
foreign species of birds and flowers crowded
his paintings with white and scarlet highlights
in the fur, plume, and fruit accentuated by dark
backgrounds. A painting, strikingly similar in
composition, with the same pendant pair of dogs
was offered at Sotheby’s, New York, January 31,
2013, as lot 195. Two additional paintings that
match the description of these were offered in
April 1751 in the estate sale of William Hubert of
St. Martin’s Lane, London (lot 107) and in the sale
of the Earl of Lichfield, Shugborough Hall, in 1842
(lot 17). Examples of his work are conserved in the
Royal Collection and Fitzwilliam Museum in London
and in Magyar Nemzeti Galeria in Budapest.
11

A member of a politically prominent Russian noble family, Grigory
Orlov was a cadet in St. Petersburg when he was noticed by the then
Grand Duchess Catherine. He soon became one of her favorites,
a position that was cemented when he organized the coup to
overthrow her husband, Peter III. Orlov was able to deftly maneuver
the vagaries and intrigues of the infamously complex Russian
royal court for years, until 1771 when he returned from one of his
only unsuccessful diplomatic missions to find himself essentially
replaced and officially deemed a nonentity

16

The insignia which Orlov displays so prominently in this portrait is the
Order of the White Eagle, an honor of Polish origins. While this may
seem somewhat surprising - especially when taking into account the
tense diplomatic relations between Russia and Poland at the time
- there was a period during Catherine’s reign when the order was
annexed by the Empress. It was conferred by her to her paramours
and closest personal allies.
Reference: Hazelton, Alan W. “Russian Imperial Orders”,
Numismatic Notes and Monographs Issue 51 New York: American
Numismatic Society, 1932

Following the Bourbon Restoration in 1814, JacquesLouis David, the preeminent Neoclassical artist of
France and “court painter” to Napoleon, sought exile
in Brussels, Belgium with fellow revolutionaries and
Bonapartists, who voted for the execution of King Louis
XVI. In Brussels, David likely encountered Jean-Pierre
Maubach, a court of appeals attorney and proprietor
of Le Vrai Republicain- a newspaper sympathetic to
French refugees in exile that published the works of
David’s pupils in Brussels, including Sophie Fremiet, an
ardent Bonapartist and wife of Francois Rude- sculptor
of the Marseillaise façade on the Arc-de-Triomphe,
and the Belgium born François-Joseph Navez. Given
Maubach’s age in the portrait, the painting was likely
executed by one of David’s pupils in the 1830s.

This scene bears the keen influence of Eugene Delacroix, the
leader of the French Romantic School, whose optical studies
of color and expressive brushstroke profoundly shaped
future Impressionist works. Trained in the Neoclassical style
of Jacques-Louis David by Pierre-Narcisse Guerin, Delacroix
ultimately rejected the academic traditions, privileging
emotive expressions of color through bold brushstrokes
over controlled lines and carefully modeled forms. Though
beautifully rendered, classical depictions of historical and
mythological scenes invoked a sense of stasis, in which the
turmoil of the battle or deluge was lost on the viewer. Inspired
by Peter Paul Rubens and the Venetian colorists, Delacroix
created a new genre of painting, capturing the primacy of the
moment through the rapid application of deep warm colors
and exaggerated lighting to convey movement. This painting
exemplifies all these qualities, which would explain why it was
sold in Paris, London, and exhibited in New York City, as late as
1980, as a veritable work by Delacroix. In 1990, Christie’s, New
York, offered it at auction for $8,000‑$12,000 as a painting by
Pierre Andrieu - Delacroix’s premier assistant from 1844‑1863.
Andrieu was such an accomplished artist that he collaborated
with Delacroix on paintings, and later copied and restored his
work, including the paintings in the library of the Senate in 1868.

“Orpheus and Eurydice”, a mythological tale from the ancient
Classics that multiple artists depicted throughout the 18th
and 19th century, was a subject Delacroix visited many times,
as the dramatic flight from Hades showcased his bravura of
color and movement. In a rich palette of crimson, sienna and
ultramarine blue suffused with light, Delacroix, or his pupil,
captures the moment Orpheus leads Eurydice from the dark
caves of the Underworld, breaking Hades’ edict that he not
look back as she follows into the light of the living. The scene
also recalls compositional similarities to Delacroix’s 1825
illustrations and sketches of Faust, Mephistopheles and the
witches on Walpurgis night he created for Goethe’s tragic
play Faust, which he continued to experiment with throughout
the 1820s and early 1830s in works like “Witches Sabbath”,
ca. 1831‑1832. In his 1823 journal, Delacroix wrote in a February
entry: “Every time I look at the engravings of Faust, I am seized
with a longing to use an entirely new style of painting that
would consist, so to speak, in making a literal tracing of nature.
The simplest poses could be made interesting by varying
the amount of foreshortening.” In this painting, the Faustian
influence is evident - the upward diagonal composition,
executed through heavy brushstrokes and chiaroscuro, is
redolent of the mountain ascent/descent, and the exceptional
use of foreshortening of the souls in the lower right foreground
and background reduces the dead to a shrouded mass.

Leonard Sarluis (b. Salomon-Leon Sarluis) a prolific artist
associated with the French symbolist movement, exhibited at
the Salon de la Rose Croix and Salon des Artistes Français,
as well as numerous galleries in Paris and London, including
Bernheim Jeune and Grafton Gallery. Born into a JewishDutch family in 1874, Sarluis entered the Royal Academy of Art
in the Hague at the age of seventeen, and changed his name
shortly thereafter to Leonard in homage to his Renaissance
idol, Leonardo da Vinci. Two years later he moved to Paris.
As a talented, attractive and openly homosexual man, he
was immediately accepted into the avant-garde literary and
artistic circles of Oscar Wilde, Jean Lorrain, Emile Verhaeren,
Puvis de Chavannes and Gustave Moreau’s pupil Armand
Point, who invited him to exhibit with the Salon de Rose Croixa fraternal esoteric, religious sect for symbolist artist led by
the eccentric Josephin Peladin. Sarluis embraced symbolist
tenets in his art: he rejected secular outlooks and scientific
theories-namely Impressionists and Post-Impressionists
study of optics and plein-air observations, preferring instead
to examine color from a personal emotive and spiritual
perspective. Likewise, the symbolists preferred religious and
allegorical/mythological subject matter over the natural world.
While Sarluis’ subject matter is distinctly symbolist, his
execution represents an interesting mix of Italian Renaissance
and Pre-Raphaelite styles rendered with the sensitivity and
psychological depth of 17th century Dutch masters. Sarluis

22

was drawn to the Pre-Raphaelites’ ethereal depiction of
women captured in wondrous colors of Quattrocento Italian
art created through the application of thin glazes of pigment
over a wet white ground that Hunt and Millais developed. The
thin glazes, coupled with the heavy use of chiaroscuro in the
lower foreground and background and use of sfumato-the soft,
hazy blending of the woman’s features recalls Da Vinci’s “Mona
Lisa” and two paintings of the “Madonna of the Yarwinder.”
The darker palette, elongated arc of the hand that eclipses
the size of the sitter’s face, down cast eyes and the swirling
green orb that surrounds her head bespeaks of a meditative
vulnerability more characteristic of Northern European painting.
In 1925, the same year this painting was executed, Leonard
Sarluis held a solo exhibition at Galerie d’Art du Journal in
Paris, which feature many of his elegant Renaissance-inspired
meditative busts of women—of which this one may have been
included. The review and forward to the “Exhibition Sarluis”
written by Gaston de Pawlowski brilliantly captures the
bravura of both this work and Sarluis’ women. “He has patiently
prepared this glorious feat. This incredibly triumph, this worthy
reward of an admirable career of which it appears to be the
crowning achievement…. Vinci! Raphael! One will evoke these
names in contemplating certain of Sarluis’ heads of women.…
but what strange modernism, what fathomless mystery in
these heads whose fame will only grow through the centuries.”
Reference: L’Homme Libre. 13 February 1925. p. 2

While still a student at l’Ecole des Beaux-Arts in Paris
in 1872, Coutan was the recipient of the prestigious
Prix de Rome, which afforded him the opportunity to
study in Italy for several years. Upon his return to Paris,
he had his debut at the Paris Salon to much attention
and acclaim. One of the most sought-after artists for
grand public commissions, Coutan was known for
his elegant allegorical sculptures. The wonderful
bas-relief plaque presented here of an allegorical
depiction of victory as a winged figure on horseback
reveals the sculptor at his most masterful; the taut yet
subtle muscles of the horse’s legs, the delineated
feathers of the wings, and the delicate modeling which
creates an interplay of light and shadow, creating
a sense of depth and motion. Coutan was named a
professor of art at l’Ecole des Beaux-Arts in 1900.

Of humble origins, Boucher was born
into a farming family of less than modest
means. As a young man, he entered the
service of the sculptor Joseph-Marius
Ramus (1805‑1888) as a gardener.
Ramus saw the artistic potential in
his new servant and accepted him
into his studio. Boucher was never to
forget this fortuitous opportunity, and
served as a mentor for many young
sculptors, most notably the young
Camille Claudel, and was known for
his generosity and philanthropy. In
1902 he formed the La Ruche studio in
Montparnasse for struggling artists.

The model for the sculpture presented
here was exhibited at the Paris Salon
of 1886 where it was awarded a first
class medal and widely admired
for its exploration of the powerful,
straining athletic body. A large-scale
version was commissioned by the
government to be prominently placed
in Jardin du Luxembourg. The three
figures are all modeled on studies of
Boucher’s friend, the explorer PierreGabriel Bonvalot (1853‑1933), and
the resultant sculpture is a masterful
depiction of the desperation of the
athletes to reach the finish line.

Gaston Renault was an accomplished realist painted trained in
the 19th century canon of the French Academy that privileged
classically drawn figures executed in mythological and historical
genre scenes over the avant-garde experimentation of the
Romantics and later Impressionists. Renault studied with Tony
Robert Fleury, a professor at the Academie Julien, Leon Bonnat, a
professor at the Ecole des Beaux-Arts and with William-Adolphe
Bougereau, one of the penultimate proponents of French
academic painting and president of the Societe des artistes
francais. Renault debuted at the 1880 Salon to wide acclaim,
which was quickly followed in 1881 with this epic painting of
“Daphnis and Chloe.” Executed with the finesse of Bougereau, it
is a modern interpretation of a Classical pastoral that celebrates

26

the beauty of the human form with particular emphasis paid to
the female figure- the elongated and idealized torso through
subtle linear modelling is executed with a controlled palette of
porcelain-like ivory and tertiary hues of viridian and taupe. The
contemporary visages and hair-styles and Daphnis’ straw hat
contemporize the piece which critics immediately noted. In
numerous Salon reviews, the 2nd century Greek pastoral was
hailed a modern day Parisian love story of young bohemians from
the Faubourg in which “love laughs in their naïve eyes; they are of
elegance” beyond sin.
Reference: Le Musée artistique et littéraire: revue illustrée.
Typographie Paris: Charles Unsinger, 1881.

The Forest of Fontainebleau, the
sacred hunting grounds of French
kings since the 13th century, is one
of the oldest forests in France and
the first nature preserve in history
enacted by Napoleon III in 1861. Its
austere oaks, pines, limpid pools of
water, plateaus and extraordinary
rock formations became the
wellspring of Barbizon School artists
beginning in the 1830s. Young artists
seeking a sylvan escape from the
bustle of Paris took to plein air painting
in the Forest of Fontainebleau and
the surrounding fields farmed by
the peasantry of the nearby village
of Barbizon. Diaz, an extraordinarily
talented painter of porcelain and
Romantic pastiches and odalisques,
was seduced by the lighting the
immense oaks commanded in
Theodore Rousseau’s paintings of
the Forest. With his keen eye and

aptitude for quick painterly studies,
Diaz not only embraced Barbizon
School painting, but he also became
one of its preeminent proponents.
His bravura in capturing diffuse
lighting in palettes of gold and sienna
that scintillate on the forest floors and
tree barks earned him a first-class
medal at the Salon of 1848, and the
award of chevalier of the Legion of
Honor in 1851. The painting offered
here is a fine example of his Barbizon
oeuvre. Lit from above in Diaz’s
characteristic framing technique, he
creates an oculus through the tree
canopies through which to illuminate
the brush and boulders that recall
the terrain near the height of Jean
du Paris. Similar use of lighting with
striking stylistic similarities are also
observed in the work of Leon Richet,
Diaz’s pupil’s painting of the Forest of
Fontainebleau in lot 67.

The 2nd Earl of Godolphin was the only son of Sidney Godolphin
and followed his father into politics, holding a range of public
appointments, including acting as a member of parliament
for East Looe, Helston, Oxford, and Tregony. Under George
II, he variously held the positions of Privy Councillor, Lord of
the Bedchamber, and Lord Privy Seal. He married Henrietta
Churchill (later 2nd Duchess of Marlborough), by whom he had
five children.
This painting of Francis, 2nd Earl of Godolphin is a slight variant
of the “Kit-Kat” portrait by Kneller now conserved at the National
Portrait Gallery, London. The series of “Kit-Kat” portraits were
commissioned by the influential London club to depict its
most distinguished members. Originally meant to hang in the
club’s London location, these three-quarter length works,
all measuring 36” x 28” are presently dispersed in several
prominent English collections. A full-length portrait of the 2nd
Earl, also by Kneller, now hangs in the private rooms at Blenheim
Castle, The Marlborough Estate.
Sir Godfrey Kneller was one of the most successful, sought-after
portrait painters in 18th-century England, and held the post of
official court painter until his death.
Reference: Piper, David. Catalogue of the Seventeenth
Century Portraits in the National Portrait Gallery. Cambridge:
University Press, 1963.

The sitter of this portrait, William Pulteney, was from an illustrious
political family and, before his untimely death from fever, there
were expectations that he would surpass his relatives in position
and glory. Before the age of 30, Pulteney had twice been a
Member of Parliament, achieved the rank of Lieutenant-Colonel
in the British Army, was named a Lord of the Bedchamber, and
was the Aide de Camp to King George III. It is documented that
the prodigious Sir Joshua Reynolds was commissioned to paint
several portraits of the young man, including one where he is
posed with his beloved hunting dog. A portrait of Pulteney by
Reynolds is conserved at the Cincinnati Art Museum in Ohio.

A very similar portrait of Samuel Ladd Howell’s
younger brother Paschall Howell is reproduced
between pages 368 and 369 in Francis Howell’s
1897 family history. Samuel appears to be aged
around 12-14 in the work offered here and his brother
appears to be aged around 10-12 in his portrait. It
is likely that the two are by the same, unfortunately
unidentified, artistic hand.
Reference: Howell, Francis. The Book of John Howell
and His Descendants, Vol II. New York: Francis
Howell, 1897

This portrait belongs to the illustrious peerage of the Walker family
of Rotherham and Nottingham, conserved in Clifton Park and
Museum and in the annals of British Industrial history. The Walker
portraits of Joshua (1750-1815) and Susannah Need (17601831) painted by John Russell, and their heirs Henry (17851860) and Elizabeth Abney (1786-1850) painted by Ramsay
Reinagle were donated to the museum at Clifton Park, the site
of family’s main estate, in 1944 by the great-granddaughter of
Henry and Elizabeth, Winifred Causton. Causton’s grandmother
Caroline Elizabeth and her two siblings Henry and Emily Walker
are mentioned, but they are not included further in the lineage,
principally because their portraiture is not part of the Museum
collection.
The immense and stunning portrait offered here, which
descended in the family of Winifred’s sister Marguerite
Magdalen Daisy Radcliffe, nee Ashton-Case Walker (18831943), represents the missing third generation of Walkers.
Painted by Reinagle around the same time that he painted the
parents’ pendant portraits, its scale, size and setting are another
testament to the family’s wealth and prestige.
The Walker family rose to great prominence during the
Industrial Revolution, becoming the iron and steel magnate of
Northern England. The Walker Iron and Steel Works founded
by Samuel Walker and his brothers in 1746 at Rotherham was
one of the largest iron foundries in the country and supplied
material for iron bridges and most of the iron cannons used
by the British government until 1815. The business continued
to prosper under his son Joshua and grandson Henry (1785-

52

1860), who secured the commission in 1819 for the cast iron of
London’s Southwark bridge. This portrait of Henry’s children
painted shortly afterward prominently features the family
industry. Henry Frederick (1807-1866), the family heir, holds
a large iron pinch point bar that the Walker foundry produced
in great quantities as it was the primary tool used for moving
cannons and metal materials onto boats, bridges and rail
cars, and for digging and breaking ground. In the background
of the painting, the three distinct ashlar arches of the bridge
at Blyth Hall are prominently displayed. Though the former
owner of the estate William Melish erected the bridge in 1770,
the Walker Foundry likely supplied its wrought-iron railing.
The inclusion of the bridge at Blyth is all the more significant,
because Henry and Elizabeth Walker resided at Blyth Hall,
and did not occupy the larger property at Clifton Park until
after Henry’s mother Susannah died in 1831. Another notable
feature in this family portrait is the inclusion of the pen and
paper that Caroline Elizabeth (1808-1883) holds. Like her
mother, who was a published poet and outspoken abolitionist,
Caroline was also an accomplished writer in her youth. As
for Emily (1811-1845), little is known about her. She married
Thomas Streatfeild Lightfoot, Esq. (1813-1895), and dies
prematurely at 35.
After Henry Frederick died without issue in 1866, the family
estate passed to Thomas Edward Case (1848-1882),
Caroline Elizabeth’s eldest son by John Ashton Case of
Ince and Thingwall Hall, Lancaster (1804-1855). Following
his death, it was inherited by his younger brother Henry
Ashton Case (1851-1935), who adopted the name Walker.

81

53

George Augustus Frederick was the eldest son of King George
III and Charlotte of Mecklenburg-Strelitz. An intelligent, witty and
charming figure, George - affectionately referred to as “Prinny” was also flagrantly extravagant, known for his outrageous excesses
and wasteful spending. After his father fell severely ill, Parliament,
fearing that the populace’s faith in the monarchy would weaken,
made the unusual and extreme decision to name the young man
Prince Regent, making him the essential head of the country. This
portrait captures Prince George at the height of his Regency.
Initially admired by the English people, his rambunctious,
careless behavior - including a clandestine and essentially
illegal marriage to the twice widowed Catholic Maria Fitzherbert

- soon became uncontrollable. Severely in debt, Parliament
agreed to honor his debts only if he agreed to marry his first
cousin Caroline of Brunswick. The marriage was an unmitigated
disaster; both parties took an instant dislike to each other and
the majority of their marriage was spent in separate countries.
This impressive portrait is a copy of the 1816 painting by Sir
Thomas Lawrence, which is conserved at the Vatican Museum,
Vatican City. It reveals the then Prince Regent in all his glory - the
lush clothing, insignia and badges of the many orders of which he
was a member, the careful posturing of his figure. A later portrait
completed for the King’s coronation and dated 1821, is nearly
identical except for its inclusion of scarlet, ermine-edged robes.

“I can never forget the inexpressible luxury and profaneness,
gaming and all dissoluteness, and as it were total forgetfulness
of God (it being Sunday evening), which this day’s night I was
witness of, the King sitting and toying with his concubines,
Portsmouth, Cleveland, and Mazarine [sic], etc., a French boy
singing love songs, in that glorious gallery, whilst about twenty
of the great courtiers and other dissolute persons were at
Basset round a long table...Six days later, was all in the Dust.”
—Memoirs Illustrative of the Life and Writings of John Evelyn

The work presented here is a variant of Frith’s 1866 painting “The
Last Sunday of Charles II”, and was created in the last years
of the artist’s life when he frequently revisited earlier, favorite
paintings. According to Frith’s own diary, he was inspired
by Evelyn’s description, excerpted above, of the liveliness
and hedonism of the Royal Court on one of the last days of the
King’s life (Charles II fell unexpectedly ill the following day,
dying several days later). The painting was exhibited at the
Royal Academy, where it proved so popular a railing had to
be installed to protect it from the throng of visitors. The subject
lent itself well to Frith’s grandiose style, and allowed the artist
to revel in the various accoutrements of the wealthy Court.
References: Frith, William Powell. My Autobiography and
Reminiscences, London: Richard Bentley and Son, 1887; Evelyn,
John Memoirs Illustrative of the Life and writings of John Evelyn,
London: Henry Colburn, 1819.

87
British School
(19th Century)
“An Allegorical Depiction of Hope”
oil on canvas
signed “Conti” lower right.
Presented in an oval-aperture antique gesso and carved
giltwood frame.
56” x 40”, framed 68‑1/2” x 53”
Provenance: Sold in these rooms May 30, 2015, lot 46;
Private collection.
$5,000‑$8,000
We have this hope as an anchor for the soul, firm and
steadfast."
--Hebrews 6:19

87

The anchor as hope is a distinctly Christian symbol, used by
the earliest adherents of the new religion in their mortuary
carvings and catacomb decorations. These depictions
were either non-figural or included stylized fish. The
Victorian period, with its fascination with the dichotomy
of vice and virtue and love of historic symbolism, saw a
re-emergence of the anchor in illustrations, paintings, and
sculpture. These 19th-century allegorical scenes, however,
almost always incorporate the vaguely Classical figure of
a woman holding or leaning upon an anchor, often against
a seascape. The exceptional example offered here, with
its color palette of rich, lush emerald greens, turquoises
and teals, poses its Classically draped, wind-torn figure
atop a rocky precipice against the stormy British seas.

Europeans were fascinated with the exoticism of the
“Orient”, with the fine porcelain, silk, textiles and spices that
flooded ports due to the expansion of trade in the East in
the late 17th/early 18th century through the Swedish East
India Companies. Turkey, the Middle East and North Africa
became synonymous with the Orient. Napoleon’s failed
campaigns in Egypt and Syria fueled public interest in
Egyptology that found ubiquitous expression in the French
Empire-style- whereby fine and decorative arts prominently
featured sphinxes, winged animals, paw feet, and
hieroglyphic and geometric patterns. French colonization
of Algeria and Tunisia in 1830 and 1881 respectively further
aggrandized the misnomer. By the second half of the 19th
century, the Orient symbolized all that was not Western
European and Christian; it was a collective "other" that
dazzled and afforded a fantastic reprieve from the mores
and strictures of the West. Turkish, Indian and Maghrebian
rugs were found in sun drenched bazaars in Tangiers and
Istanbul that French painters like Kauffman and Gabani
frequented, and they painted many embellished depictions
for wealthy European patrons such as the “Snake Charmer”
in lot 105, and the colorful tapestry rug-laden market in lot
106. The exotic fauna, spices and textiles were revered
as vibrant and wild as the forbidden domestic interiors of
the Ottoman Empire sultans, namely the women’s quarters
(seraglios). Harems were highly eroticized by Western men
as they erroneously viewed them as personal brothels for
the affluent. Romantic painters, notably Gerome, Delacroix
and Ingres pictorially invented the harem pastiche of the
Odalisque - Turkish slaves or concubines portrayed as
belly dancers or as recumbent nudes in lush interiors that
often include other women bathing or in intimate embraces.
Aureli ‘s “Courtesans in Waiting” and Ballesio’s “Royal
Patron” in lots 102 and 103 exemplify this archetype, as
does the painting offered here by Commere of the “Harem
Dancer”, and also Semenousky’s “Water Carrier” in the
following lot. The latter two present sultry odalisques/
belly dancers draped in golden gauze with elaborate
sequined accoutrements; the first is posed before a relief
of Moorish architecture bedecked in “Oriental” guilloche;
and the second portrays a Western Greek or Italian peasant
presented as an odalisque.

108
Italian Patinated Bronze of “Discobolus”
first half 20th century, after the 1st century AD Roman
sculpture (itself a copy of a lost 5th century BCE Greek work by
Myron) now conserved by the Museo Nazionale Romano and
displayed in the Palazzo Massimo, on an oval marble plinth.
overall h. 26‑1/2”, w. 18”, d. 12”
$1,000‑$1,500

Along with Sir Lawrence Alma-Tadema (1836-1912) and Sir
Frederic Leighton (1830-1896), John William Godward was
acknowledged as one of the most successful proponents of
Victorian Neo-Classicism, specifically what was loosely and
unofficially referred to as the marble school. Inspired by the
art, architecture, and antiquities of ancient Rome and Greece,
Godward painstakingly studied every aspect of his paintings to
ensure they were as accurate as possible.
This meticulous attention to detail is evident in the exquisite
painting presented here. The classically draped figure is
leaning against a delicately gray-veined cream marble
parapet. Every pleat and fold of cloth is clearly delineated, and
the lush weightiness of the fabric is played against the luminous
smoothness of the marble.

As with almost all of Godward’s paintings, the background
is intentionally vague in its characteristic and, therefore, the
locale is unidentifiable – as its true role is to act as a foil to the
beauty and gracefulness of the figure and the architectural
edifice with which she is so elegantly framed.
Little is known of Godward’s schooling and education, though it
is believed that he spent some time in the offices of the architect
William Hoff Wontner, a family friend, from whom he likely
learned the rudiments of technical architectural drawing – a
skill which was to be of crucial significance in his later chosen
style and subject. In 1887 he exhibited for the first time at the
Royal Academy, to nearly instantaneous critical acclaim, and
Godward spent the next several decades as a popular and
highly sought-after artist.

128
Johann Berthelsen
(Danish/American, 1883‑1972)
“Madison Square, Early Evening”, ca. mid-1940s
oil on canvas board
signed lower right and titled on brass artist plaque.
Presented in a frame custom-made by the artist’s wife.
20” x 16”, framed 25‑3/4” x 21‑3/4”
A special thank you to Mr. Lee Berthelsen, the artist’s son, for his
assistance with cataloguing the painting.
$7,000‑$10,000

141
William Aiken Walker
(American/South Carolina, 1839‑1921)
“Man and Woman on a Horse”
oil on board
signed lower left.
Unframed.
9‑1/4” x 12‑1/4”
To be included in John Fowler’s forthcoming
catalogue raisonne.
$8,000‑$12,000
141

142
William Aiken Walker
(American/South Carolina, 1839‑1921)
“Young Boy on a Mule”
oil on board
signed lower left.
Unframed.
9‑1/4” x 12‑3/8”
To be included in John Fowler’s forthcoming
catalogue raisonne.
$6,000‑$9,000
142

An avid sportsman, William Aiken Walker enjoyed the
recreational pursuits of hunting and fishing. The artist
frequently traveled to southern resorts with the intent of
selling his paintings to wealthy vacationing tourists and
would join his patrons on hunting excursions. Walker
painted nature mortes of fish and game as well as dog
hunting scenes. This portrait of a "Hunting Dog" reflects
Walker's admiration for the hound's abilities in the field and
is signed by the artist on a blade of grass.
Ref: Trovaili, August P. and Roulhac B. Toledano, Wiliam
Aiken Walker: Southern Genre Painter, Gretna: Pelican
Publishing Co, 2008.

145
Attributed to Washington Bogart
Cooper
(American/Tennessee, 1802‑1888)
“Portrait of John Waters and Mollie (or
Mallie) Waters”, ca. 1860
oil on canvas
unsigned.
Presented in a period giltwood and
gesso frame.
60” x 48”, framed 75‑3/8” x 60”
Provenance: Deaccessioned property
of a Southern institution.
$3,000‑$5,000
This portrait was attributed in 1982
to Washington Bogart Cooper by
James C. Kelly of the Tennessee State
Museum, an acknowledged authority
on the artist. A portrait painter of many
notable Tennessee families, the sitters
in this painting are children of Dr. John
Waters (ca. 1790‑1867) and Ann M.
Rawlings Waters (1826‑1910) who lived
and are buried in Nashville, Tennessee.

Born into a middle class New Orleans Italian-American
family, August Norieri merged his fascination with the boats
and life along the Mississippi River and Lake Pontchartrain
with his talent as an artist. His brother Baptiste worked as
a tugboat captain and a bar pilot, and provided the artist
with insight into the waterways of southern Louisiana. In
1880, Norieri began his studies with the local artist Andres
Molinary, who was known for his landscape and genre
paintings. Molinary’s studio was a favorite gathering place
for the local and visiting artists, and Norieri would have been
a frequent guest of his mentor. Despite his untimely death in
1898 at the age of 38, Norieri had an accomplished career
including exhibiting with The National Academy of Design,
The Art Association of New Orleans and The Creole Exhibit
of the American Exposition in 1885. This charming painting
“Along Lake Pontchartrain” provides a glimpse of daily life
at the end of the nineteenth century with a view of sailboats
in the distance as a fisherman walks with pole in hand along
the shore and two men chat in the shade of the live oak tree.

152
Clarence Millet
(American/Louisiana, 1897‑1959)
“Bayou Teche”
oil on canvas
signed lower left, signed and titled “Teche Pastoral” en verso
canvas, and with old handwritten inventory note en verso
frame.
Framed.
30” x 40”, framed 37‑3/4” x 47‑3/4”
Provenance: Private collection, New Orleans, Louisiana.
$6,000‑$9,000
Clarence Millet was one of the few Southern Regionalist
artists to receive national acclaim from critics and
collectors during his lifetime, and was the only such artist
to be named an Associate of the prestigious National
Academy of Design, an honor which was conferred in 1943.

96

His earliest artistic training was through his association
with Robert Grafton and Louis Oscar Griffith, both of whom
had spent considerable time in France and who exposed
the young man to the tenets of Impressionism, a style which
instantly appealed to his sensibilities. Millet’s light-drenched
canvases were rendered in precise, quick brushstrokes
and proved especially effective at successfully capturing
the atmosphere of the Louisiana landscape. The painting
presented here of Bayou Teche - a location the artist was to
revisit throughout his career - is a clear example of the artist at
his most adept and accomplished; the deep verdant greens
and browns of the large tree with its dripping Spanish moss
which are deftly juxtaposed against the blues, lavenders, and
grays of the slightly overcast sky; the composition which allows
the magnificence of the natural scenery to shine; the broad
brushstrokes which create a sense of vibrancy and vitality.

A native of Mexico who was to become one of New Orleans’
most iconic artists, Alferez received his earliest training in the
studio of his father, a European-trained sculptor of religious
figures. At the tender age of 12, he was kidnapped by forces
loyal to Francisco “Pancho” Villa and spent the next seven years
serving under the General during the devastating Mexican
Revolution; he managed to escape in 1920 and fled to Texas. He
eventually enrolled in the School of the Art Institute of Chicago,
studying under Lorado Taft and training in the then waning
Beaux-Art style. It wasn’t until the emergence of Art Deco that
Alferez truly found his distinctive style of angular planes which
adeptly reduce the human form to its most essential elements.
His works, whether sculpture or drawing, are redolent of the
influences of his Mexican childhood, an inspired combination
of Pre-Columbian relics, Catholic symbolism, and the remnants
of Colonialism. The work presented here, of the South
American cow-herder, is a wonderful example of the sculptor at
his most accomplished - employing the fewest lines possible,
Alferez easily conveys the pride and dignity of his subject.

Laurencin was one of the most significant women artists
associated with the Cubist movement. A friend and associate
of Pablo Picasso, George Braque, and Guillaume Apollinaire,
she was often reduced to little more than a footnote to Cubism,
frequently referred to as muse rather than artist. Contrary to
many contemporary – and later – writings, Laurencin had
begun painting long before she was exposed to the avantgarde art community of which she was to become such an
important member. Even her earliest works reveal aspects
of her distinctive style; carefully composed intimate scenes
of female figures, executed in pure colors with almost
aggressive accents of black; features which are all more
indicative of the Fauvist movement. The sometimes jarring
angularity of many Cubist paintings is missing from her work,
and her figures are subtly curved.

The work presented here is a wonderful example of Laurencin
at her most engaging and accomplished. The delicately
flowing figures are carefully rendered in broad swaths of
color contained within a few precisely chosen black lines.
The colors are cool and bright blues, yellows and pinks,
Laurencin’s preferred palette. The central figure gazes
directly and assertively at the viewer, while the two flanking
figures are more internally involved with their own movements.
There is a sense of energy and vivacity which is indicative of
Laurencin’s mature style.
Reference: Ott, Elizabeth. "Memories of Bilitis". Genders,
Number 36, 2002.; Glueck, Grace, "The Woman as Artist".
The New York Times, September 25, 1977.

“In our life there is a single color, as on an artist’s palette,
which provides the meaning of life and art. It is the color
of love. Perhaps my art is a blue soul breaking in upon my
pictures.”
—Marc Chagall

114

“Les Maries dans le Ciel” embodies the magical, dreamlike poetry
of Marc Chagall’s work. It is a symphony in blue, the color of love
that saturated his soul, and it celebrates three of the most recurring
themes painted by the artist: lovers, musicians and the crowded
rooftops of his childhood village in Vitebsk, Belarus (then part of the
Russian Empire), where Chagall met his young bride Bella Rosenfeld.
All three are harmonized in a wash of ultramarine, cerulean and green
beneath a pale moonlight and bridal trellis accented by the brilliant
red of its canopy and by the bouquet of the flower bearer. Bella was
Chagall’s endless muse and ultimate raison d’etre as an artist. She
represented a purity of love that spilled forth in his paintings, defying
gravity and perspective, causing figures to soar through the skies
and objects to dance in tandem in a kaleidoscope of colors and forms.
As Chagall stated in his autobiography My Life: "All I had to do was
open my window and in streamed the blueness of the sky, love and
flowers with her [Bella]. She has long been haunting my paintings, the
great central image of my art.” Long after Chagall’s native village was
destroyed in the Russian Revolution, two world wars and its Jewish
population almost halved; long after Bella died suddenly in America
as a war emigre in 1944, the song of Bella and his beloved Belarus
live on as the leitmotif of “Les Maries dans le Ciel.” Painted nearly forty
years later when Chagall was well over ninety years old, their memory
persists in recurring symbols and images that bear witness to the past
in vignette-like psalms that sing of life; the cadence of the ensemble
further visualized by the celestial cellist and courtyard flutist. As
Chagall once wrote, “Color is all. When color is right, form is right. Color
is everything, color is vibration like music; everything is vibration.”
References: Chagall, Marc. My Life. London: Peter Owen
Publishers, 1965; Wullschlager, Jackie. Chagall: A Biography.
New York: Knopf, 2008; Chagall, Marc. Marc Chagall on Art and
Culture, edited Benjamin Harshav. Stanford University Press, 2003.

Born into a family of modest means to a railway clerk and
a mother whose family was from peasantry origins, Luce
always had a deep predilection for the working class. After
serving in the military for four years, Luce began his artistic
career as an engraver, before turning to painting full time
in 1883, when employment opportunities for engravers
became scarce, due to advancements in printmaking.
Influenced by the Impressionists who advocated pleinair studies, Luce took multiple day trips to the outskirts
of Paris - painting the changing effects of sunlight on
the woodlands and fields through the juxtaposition of
colors quickly applied in wet overlapping impastos
through rapid short brush strokes. A fine example of
this is the work offered here, which portrays the wooded
bank of the Chalouette River in Moulineux, a commune
in Ile-de-France, 70 kilometers southwest of Paris.
Between 1900 and 1905, Luce painted several sylvan
landscapes of the Moulineux region, including “Route
de Campagne a Moulineux” sold in these rooms on July
17, 2010 as lot 394. In these works, Luce elucidates the
depth of the shaded foliage through layered tertiary blues
and greens offset by warm yellows, beiges and pinks
created through the mixture of complementary colors.

Utrillo was the ultimate bohemian. He was born in
Montmartre out of wedlock to Suzanne Valadon, an
acrobat, who turned to modelling for artists after a fall
from the trapeze ended her circus career. Valadon
achieved much notoriety/infamy as one of the premier
models for Renoir, Degas, Puvis de Chavannes,
Toulouse-Lautrec and Morisot, as she could not
determine if her son was the offspring of the first three
aforementioned artists or by a lesser known one named
Boissy. When Maurice was eight, Valadon’s friend, the
Spanish art critic Miguel Utrillo, legally recognized
him as his son although few believed him to be. Rumor
has it that after Renoir and Degas denied paternity,
Utrillo said that he would be happy to put his name to
the work of either artist. Valadon studied under Degas
and went on to become a talented artist in her own
right and ultimate mentor to her son. After the young
Utrillo turned to truancy and alcoholism in his teenage
years, Valadon encouraged him to take up painting
and shared a studio with him. Aside from her training,
Utrillo was self-taught. Shy by nature, he preferred to
work with pictures and post cards than with models
and portraits. He depicted the streets, windmills, and
attractions of Montmartre experimenting with cubism
and post-impressionist impastos that attracted the
attention of art dealers and further popularized the
art district. After 1910, Utrillo’s work received wide

By the 1920s, he had a lucrative career on the
international market and was awarded the Cross of the
Legion of Honor by the French Government in 1928.
Some of Utrillo’s most prolific and highly regarded
work was produced between these decades; between
his white period (1909-1914)- where he depicted
walls, roads and other building facades in heavy
zinc white impastos that he often mixed with plaster
to create thicker textures, and the cloisonnism period
(1914-1925)- where Utrillo depicted, in the style of
Bernard and Gaugin, large flat patches of bright color
enclosed within black tracery that recalls medieval
cloisonné.
“Rue a Ivry”, offered here, is a masterpiece that
embodies the best of both periods. The textured
chalky building side with the street advertisement
and wall of white that give rise to a stucco apartment
building are characteristic of the white period. The
somber and relatively monochromatic buildings
and unpaved street are punctuated by the rotund
backsides of the pedestrians and by the brilliant
orange siding and green shutters lined in black,
creating geometric patterns that pictorially collapse
the foreground and background while still suggesting
depth in space.

acclaim and was exhibited regularly at the Salon
d’Automne and Salon des Independents.

A native of Ghent, de Smet was born into an artistic
family; his father was a decorative painter and his older
brother Gustave was an acclaimed artist and one of the
proponents of Flemish Expressionism. He attended the
Royal Academy of Fine Art (now a part of Hogeschool
Gent) where he first encountered the Luminist School,
a neo-Impressionist movement that emphasized the
effects of light; he eventually became a member of the
“Vie et Lumiere” group which included the artist Théo
van Rysselberghe (1862-1926). De Smet had his first
exhibition in his hometown in 1901 – by 1910 he was
taking part in international exhibitions where his work
was enthusiastically received.
During WWI, de Smet fled to England where he made a
highly profitable living by accepting commissions for
society portraits. He never strayed from his Luminist
origins, however, even when exhorted to do so by his
fellow artists.
The exquisite still life presented here is an example
of de Smet at his most masterful. He has employed
a complex palette that deftly plays with the warm
crimsons, oranges and golds of the flowers against the
cool blues, lavenders and pinks of the background.
The resulting, light-infused, work is compelling in its
vibrancy; in lesser hands such a juxtaposition could be
disastrous.

Born in 1889 at the height of the French Belle Epoque - the
golden age of art, technology and commercial prosperity,
Domergue was greatly influenced by all the splendors the
period produced. Paris was its epicenter. With its balls,
parks, galleries and grand boulevards lined with impressive
shops brimming with fashionable accessories in their window
fronts, it was a veritable spectacle to be had, one that gave
rise to the term flaneur/boulevardier - the urban explorer, who
voyeuristically seeks artistic inspiration from people watching,
particularly the “ladies of the evening”. Often referred to as
“grand courtesans”, “demi-mondaines” or “coquettes”,
these attractive women were born of meager origins. Instead
of becoming maids or washwomen, they sought vocations
in the performing arts as actresses, singers, ballerinas and
dancers, achieving not only fame and status in society through
wealthy art patrons, but also independence - as working
class women they were able to frequent public events, like
the racetrack featured here, without chaperones. Emile Zola,
Edouard Manet, Edgar Degas and Henri de Toulouse-Lautrec
immortalized this archetype, which left a lasting impression on
the young Domergue. Following his studies at Ecole Nationale

130

Superieure des Beaux-Arts where he won the Second Prize
of Rome in 1913, Domergue honed his artistic eye on “ladies
of the evening”, perfecting what he called the modern “pinup” - women with swan-like necks, wide seductive eyes, and
thin elongated bodies influenced by the Romantic odalisque
- they invited viewers to look upon them with awe and longing.
According to Domergue, they were to be imbibed with the
same airiness and effervescent sparkle as champagne.
“Soleil aux Courses” exemplifies Domergue’s style. The
beautiful dame is poised coyly at the racetrack with her field
binoculars - an invitation for all to see. The racetrack, which
Domergue painted numerous times, presented another ideal
opportunity for the flaneur to eye the spectacle of fillies and
ladies alike.
References: “Jean-Gabriel Domergue: Biographie”. Galerie
de Souzy. Web. Accessed March 27, 2018; Soyer, GerardLouis. Jean-Gabriel Domergue, l’Art et la Mode. Paris:
Editions Sous le Vent, 1984.

An emigre several times over, Gluckmann was born in Vitebsk,
Belarus (then part of Russia), a contemporary of that town’s
most famous son, Marc Chagall. He enrolled at the Moscow
School of Painting, Sculpture and Architecture, studying for
several years under Abram Arkhipov (1862‑1930), before
fleeing to Berlin during the Russian Revolution. He soon made
his way to Paris, where he began to exhibit in earnest - at the
Galerie Druet, Galerie Charpentier, Salon d’Automne, amongst
numerous others. In 1941 he fled once again, this time to New
York to escape the Nazis. He eventually permanently settled in
Los Angeles.
Gluckmann painted a variety of subjects, from the almost
obligatory atmospheric Parisian street scenes, to coy nudes
and voluptuous still lives, but it was his luminous, glowing
depictions of ballerinas which captured the attention and
admiration of critics and collectors alike. Employing the
laborious technique espoused at the Moscow School of Art,
Gluckmann used numerous layers of paint - allowing each
layer to dry completely before the application of the next. This
resulted in works with an intense depth of color. The success of
this technique is evident in the work presented here, where the
various textures of the fabrics - the layers of tulle of the skirt, the
satin of the shoes, the silk of the ribbons - are clearly delineated.

A native of the Netherlands, Gregory de Wit entered the Benedictine
Abbey at Mont Cesar, Louvain, Belgium in 1913, and was ordained
several years later. His superiors, noticing and appreciating his artistic
abilities, sent the young monk to study at the Royal Academy at Arts,
Brussels and the Munich Academy of Fine Arts. De Wit took part in his
first exhibition in 1923, where he received numerous accolades. He
soon began to travel to various Benedictine Abbeys, where he worked
on murals, paintings, and other religious decorations. In the 1940s he
spent some time working in various religious houses across Louisiana,
eventually ending up at St. Joseph’s Abbey near Covington where he
remained for over five years creating a large mural of the Last Supper.
The existing examples of de Wit’s work reveal an idiosyncratic stylistic
approach which interestingly and successfully combines aspects of
Art Deco, Mexican murals, and Orthodox icons. His slightly weighty
figures, with their accentuated (almost exaggerated) musculature,
have an almost sculptural quality. Employing blocked areas of rich color
combined with thick, dark lines, de Wit creates a stark juxtaposition, a
technique especially effective for works - whether murals or his largescale figural paintings – which are meant to be seen from a distance.
229

“The religious work of Portocarrero has an enriching element
in its paradoxical character, with angels with atrophied wings
that will make the celestial flight difficult, but not impossible.”
-Ramon y Sergio Cernuda
Rene Portocarrero, one of the most important Cuban artists of the
20th century, advocated a national art that drew its inspiration from its
Afro-Cuban roots. A native of Havana, Portocarrero was a prodigious
autodidactic; he was a painter, sculptor, ceramicist, scene designer,
muralist and illustrator, whose scope and range of art in the Caribbean
rivals that of Pablo Picasso in Europe. He exhibited throughout the
Caribbean, the Americas and Europe, making close acquaintances
with Fidel Castro and Peggy Guggenheim. He produced copious
public works for Cuban prisons, hospitals and theaters. His
commitment to improving lives through communal art was recognized
by the Bulgarian and Polish Governments, as well as earning him
many prestigious honors, including a seat on UNESCO’s International
Association of Fine Art, the “Felix Varela” prize from Cuba, and the
“Aztec Eagle” - Mexico’s highest award. Portocarrero’s works are
conserved worldwide in leading institutions and museums, including
paintings of Santa Barbara that resemble the one offered here.
Santa Barbara was a saint/spirit that Portocarrero visited numerous
times. Her feast day, December 4, is one of the most important
festival days in Cuba, as it is also shared with Chango, the Yorubian
Lord of Fire and Lightening, a semi-divine intermediary between
God and human beings. In the 16th century, when the Spanish
shipped enslaved Yorubians and Nigerians from West Africa to the
new world, they were forced, among other indignities, to convert to
Catholicism. From indentured labor and faith, the indigenous spirits
(orichas) became syncretized with the saints, allowing various West
African tribes to preserve elements of their cultural beliefs in a hostile
environment. Spanish Colonial planters mistakenly characterized the
worship of indigenous gods under the guise of saints as “Santeria” a deviant form of prayer that privileges idolatries of saints over that
of Christ. Following the Cuban Revolution, Santeria was revitalized
as a recognized religion of Cuba and spread beyond the Spanishspeaking Caribbean. Santa Barbara was widely revered. Her life
of suffering and perseverance became a metaphor for enslaved
personages. Incarcerated in a tower for having converted to
Christianity, she remained true to her faith through trials of torture in
which her own father tried to burn her at the stake, and was struck
down by lightning when that failed. As the patron saint of artillerymen,
military engineers, miners and others who work with explosives, she
embodied revolution and empowerment. In Santeria, Chango the
powerful male spirit of lightning, thunder, war and dance, depicted
in red and white with a crown, is assimilated with the female saint,
becoming a symbol of fertility and rebirth. In this work Portocarrero
celebrates the Santa Barbara of Santeria creating a spiritual carnality
that beats to the drum of a multicultural Cuba - that a Cuban critic
succinctly summarized: “His pen and brush will give us virgins and
Santa Barbara, Christ and cathedrals of a baroque vocabulary that
is tropical and joyful, where even tragic themes like crucifixions
become joyful, with butterflies announcing their resurrection and
female angels that delight with their [voluptuous] curves.”
References: Sergio Cernuda, Ramon y. “Rene Portocarrero:
lo spiritual en su obra.” Cubancuentro. August 14, 2014. Web.
September 21, 2017; Bondil, Nathalie. Cuba: Art and History from
1868 to Today. Montreal: Museum of Fine Arts, 2008.

252
Aurelio Garcia
(Mexican, 19th/20th Century)
“El Descubrimiento del Pulque (The Discovery
of Pulque)” after Jose Maria Obregon (Mexican,
1832‑1902)
transfer-photographic print on onyx
signed and dated “1895” lower right, titled lower
left.
dia. 23‑3/4”
Provenance: Deaccessioned property of a
Southern institution.
$1,000‑$1,500
The story of “The Discovery of Pulque” concerns a
young woman named Xochitl who, led forward by
her parents, is offering Tecpancaltzin, the King of
Tula, a gourd filled with the drink, called pulque,
that she discovered. The painting by Jose Maria
Obregon was exhibited at the National Fine Arts
School, Mexico City, in 1869 and immediately
became an iconic work for both Mexicans and
tourists desiring a souvenir. The enterprising
owner of a successful marble and stone factory in
Puebla, Manuel Oliman Galindo, profited from the
painting’s popularity. He exhibited a wide variety
of onyx wares at numerous world’s fairs and won
a gold medal at the 1899 Exposition Universelle
in Paris.

263
Andre Harvey
(American/Florida, 1941‑2018)
“Gamecock - Floyd’s Finest”
patinated bronze
cast signature, copyright mark and a “Tallix, Beacon, New York” foundry mark
along front edge of self-base, on a carved walnut base with incised signature,
title, copyright mark, foundry mark, date and number “30/60” at bottom.
h. 13‑1/4”, w. 11”, d. 6‑1/2”
Provenance: Deaccessioned property of a Southern institution.
$2,000‑$4,000
A primarily self-taught artist, Harvey was inspired by an abstract sculpture
he saw in a gallery window while on a trip to France. Once back home, he
convinced a local artisan to teach him the rudiments of welding and later
worked as an unpaid apprentice in the studio of the Delaware sculptor
Charles Parks (1922‑2012). Harvey soon began to produce bronze works,
utilizing the time-consuming lost wax technique, which allowed for the high
level of detail and precision for which his sculptures are so well-known.
263

166

264
G. Patrick Riley
(American/Oklahoma, 20th Century)
“Body Meditation #2”, 1971
assemblage of bamboo, wire, armadillo carapace, leather and
ginger root
h. 120”, w. 68”
Provenance: Deaccessioned property of a Southern institution.
$1,000‑$1,500
The mixed media artist Patrick Riley creates complex assembled
masks and sculptures, referencing the motifs and symbols of earlier
cultures. Inspired by his childhood visits to the museum on the
campus of St. Gregory’s University in his native Oklahoma, where he
was first exposed to African ritual masks and the art of taxidermy, he
utilizes the various natural materials available.

A Lebanese native, the internationally acclaimed contemporary
artist Nabil Nahas spent his formative years in Cairo and Beirut,
before leaving for the USA to attend university. He earned a
BFA from Louisiana State University in 1971 and an MFA
from Yale University in 1973. Although Nahas is schooled in
Western abstract painting techniques, his work is influenced
by his homeland’s traditions of vibrant colors and arabesque
patterns derived from the natural environment.
The sea star pattern, present in many of his works, was inspired
by a walk down a beach on Long Island after Hurricane Bob in
1991. The early paintings were made utilizing real starfish, but
he soon realized that he could cast the forms in acrylic paint.

174

Nahas states, "As the paintings developed, it almost became
an abstract entity - their crawling and creeping and destructive
nature giving way to more celestial reading."
Lot 278 in our April Fine Art auction is a wonderful example
of the sea-inspired works by the artist. A tactile, visually multidimensional work, it invokes a sense of mystery, fear and
awe of the deep oceans. Nahas’s paintings are in numerous
public collections, including The Metropolitan Museum of Art,
New York; Tate, London; and the British Museum, London. In
2013 Nahas was awarded the National Order of the Cedar for
services to Lebanese culture, an honor rarely given to visual
artists.

Conditions of Sale:
ALL SALES ARE “AS IS, WHERE IS” WITHOUT ANY WARRANTIES
WHATSOEVER. PLEASE SEE SECTION 2(a) BELOW IN WHICH ANY
AND ALL EXPRESS AND IMPLIED WARRANTIES (INCLUDING
WITHOUT LIMITATION ANY WARRANTY AGAINST REDHIBITORY
DEFECTS) ARE WAIVED.

1. Introduction
(a). These Conditions of Sale (“Conditions of Sale”) contain all the
terms governing Auctions (defined below) conducted by Cakebread
Art Antiques Collectables, Inc. d/b/a New Orleans Auction Galleries
(“NOAG”), and all the terms under which NOAG and the Seller (defined
below) of a Lot (defined below) contract with the Buyer (defined below).
These Conditions of Sale may be amended by posted notices or oral
announcements made during the Auction.
(b). Under these Conditions of Sale, the following capitalized terms are
defined as follows:
• An “Auction” is a public auction conducted by NOAG, at which Bidders
may place Bids to purchase one or more Lots offered for sale by NOAG. An
Auction takes place over one or more days and includes separate auctions
of one or more Lots within an event conducted by NOAG;
• The “Auctioneer” is the auctioneer calling the Auction conducted by
NOAG; A “Bid” is a bid made by a party at the Auction to purchase a Lot;
• A “Bidder” is (i) a person making a Bid at the Auction (whether in person,
through an absentee bid, through electronic or internet means, or through
telephone bidding); and/or (ii) a person who attends the Auction and registers to make a Bid (whether in person, through an absentee bid, through
electronic or internet means, or through telephone bidding);
• A “Buyer” is the party that commits to purchase a Lot by submitting the
Winning Bid at Auction;
• “Buyer’s Premium” is defined in Section 4 below;
• “Catalogue” is the Auction catalogue utilized by NOAG to list the Lots
offered at Auction;
• The “Estimates” are the high and low estimates of value for each Lot set
forth in the Catalogue presented by NOAG in connection with the Auction
or otherwise set forth and/or announced at the Auction;
• The “Hammer Price” for a Lot is the amount of the Winning Bid at the
Auction, as announced by the Auctioneer, exclusive of commissions, Buyer’s Premium, expenses, and any taxes or other charges;
• A “Lot” is specific item of property offered for sale at Auction; The “Reserve” is defined in Section 3 below;
• The “Purchase Price” is defined in Section 4 below; A “Sale” of a Lot
occurs when a Winning Bid is declared at Auction for the Lot;
• The “Seller” of a Lot is the party who consigned the Lot with NOAG for
purposes of selling the Lot, or is otherwise the seller of the Lot;
• The “Winning Bid” is, as to a particular Lot, the Bid recognized by the
Auctioneer as the highest and best Bid for that Lot.

(c). Except as otherwise stated, NOAG acts as consignment agent
for the Seller. The contract for the sale of the Lot is therefore made
between the Seller and the Buyer.
(d). By bidding at the Auction as a Bidder or Buyer, and/or by your
signature below, you agree to be bound by these terms.

2. Before the Auction
(a). ALL SALES ARE “AS IS, WHERE IS” WITH NO EXPRESS OR
IMPLIED WARRANTIES WHATSOEVER.
(i) NEITHER NOAG NOR THE SELLER PROVIDES ANY
GUARANTEE OR WARRANTY AS TO THE NATURE, DESCRIPTION,
GENUINENESS, PROVENANCE, IMPORTANCE, OR CONDITION
OF THE LOT. All Sales and Auctions are without any representation
or warranty of any kind by NOAG or the Seller. Bidders and Buyers
are responsible for satisfying themselves concerning the condition
of the Lots and the matters referred to in the catalogue entry, the
Condition Report, or in any other statement or writing provided. All
Sales are final and are “AS IS WHERE IS.”
(ii) No warranty of redhibition. ANY WARANTY AGAINST
REDHIBITORY DEFECTS IS WAIVED AND EXCLUDED. NOAG
and Seller provide absolutely no warranty against redhibitory
defects, including without limitation: (x) any defects rendering a
Lot useless or its use inconvenient; and (y) any defects diminishing
the usefulness of a Lot; and any such warranties are waived and
excluded. In addition, NOAG and Seller provide no warranties,
guarantees, or representations as to whether a Lot is fit for its
ordinary use, fit for Buyer’s intended use or for Buyer’s particular
purpose.
(iii) No warranty against eviction. ANY WARRANTY AGAINST
EVICTION IS WAIVED AND EXCLUDED. In the event that Buyer
is evicted from possession of whole or part of the Lot, neither
NOAG nor Seller have any duty whatsoever to return any part of
the Purchase Price to Buyer. Buyer is buying at Buyer’s sole risk
and peril as to third parties who may claim rights in the Lot after
the Sale.
(iv) No warranty as to authorship. NOAG does not make any
express or implied warranty as to authorship of works of art and
fine art. No statement in the Catalogue or elsewhere, orally or in
writing, shall be construed as an express or implied warranty,
representation or limitation of liability as to authorship. Any such
warranty is WAIVED.
(v) No warranty of peaceful possession, etc. The following
warranties are waived and excluded: the absence of hidden
defects, peaceful possession, and ownership. NOAG and Seller
provide absolutely no warranty that the Lot is free from hidden
defects, or for peaceful possession, or for ownership.
(vi) No other warranties. None of the Seller, NOAG, or any of NOAG’s
officers, employees or agents, give any representation, warranty
or guarantee or assume any liability of any kind in respect of any
Lot with regard to merchantability, fitness for a particular purpose,
description, size, quality, condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition history, literature or
historical relevance. Except as required by local law, any express
or implied warranty of any kind whatsoever is excluded by this
Section 2(a).
(b). Examination of property / Condition Reports. Prospective Buyers
and Bidders are strongly advised to examine personally any property
in which they are interested, before the Auction takes place. As a
convenience, Bidders may request that NOAG produce a Condition
Report (“Condition Report”) for a Lot, which, if produced, will provide
additional detail concerning the condition of the Lot as observed
by NOAG’s staff. NOAG reserves the right to decline to produce a
Condition Report for any specific Lot, for any reason and in NOAG’s
sole discretion.
Rev. 01/04/17

(c). Catalogue and other descriptions.
(i) All statements made by NOAG as to condition, authorship,
period, culture, source, origin, measurement, quality, rarity,
provenance, importance, or historical relevance, whether in
the Catalogue entry for the Lot, in the Condition Report, and/
or in a bill of sale, or made orally or in writing elsewhere, are
qualified statements of opinion only and are not to be relied
on as statements of fact. Such statements do not constitute a
representation, warranty or assumption of liability by NOAG of
any kind. References in the Catalogue entry or the Condition
Report to damage or restoration are for guidance only and
should be evaluated by personal inspection by the Bidder
or a knowledgeable representative. The absence of such a
reference does not imply that an item is free from defects or
restoration, nor does a reference to particular defects imply the
absence of any others.
(ii) Without limiting the foregoing, none of the Seller, NOAG, or
any of NOAG’s officers, employees or agents, are responsible
for the correctness of any statement of whatever kind
concerning any Lot, whether written or oral, nor for any other
errors or omissions in description or for any faults or defects
in any Lot.
(iii) Any Estimates provided should not be relied on as a
statement that this is the price at which the item will sell or
its value for any other purpose. Any written or oral appraisal,
Estimate or other statement of NOAG or our representatives
with respect to the estimated or expected selling price of any
Lot of Property is a statement of opinion only and shall not be
relied upon by Bidders or prospective Bidders as a prediction
or guarantee of the actual selling price.
(iv) NOAG shall not be liable for any errors or omissions in
catalogue or other descriptions of the Property. Neither NOAG
nor the Seller is responsible in any way for errors and omissions
in the catalogue, or any supplemental material.
(d). Further acknowledgement. As a Bidder and prospective
Buyer, you further agree and acknowledge that:
(i) You are not relying on NOAG’s skill or judgment in selecting
to purchase any Lot;
(ii) No oral or written statements in the Auction Catalogue,
Condition Report, or elsewhere are the cause of or reason
behind your purchase of any Lot; and you would have incurred
such purchase regardless of any oral or written statements
about condition, attribution, kind, quality, value, or authorship
made in the catalogue or elsewhere;
(iii) NOAG did not and could not have known that condition,
attribution, kind, quality, expressed value, or authorship is the
cause or reason why you decide to purchase any Lot;
(iv) Your purchase of any Lot is not intended to gratify a
nonpecuniary interest; and
(v) NOAG did not know, nor should it have known, that any oral
or written statement about a Lot in the catalogue, Condition
Report or elsewhere would cause a nonpecuniary loss to a
Buyer.

3. At the Auction
(a). Registration before bidding / Bidding requirements. In order to
be accepted as a Bidder and allowed to place a Bid, all Bidders
must meet all of the following requirements:
(i) A Bidder must complete and sign the attached registration
form and provide identification to NOAG;
(ii) NOAG may require the production of bank or other
financial references or any other additional information;
(iii) When making a Bid, a Bidder is accepting personal
liability to pay the Purchase Price in full in the event that the
Bidder submits the Winning Bid, unless it has been explicitly
agreed in writing with NOAG before the auction of the Lot
that the Bidder is acting as agent on behalf of an identified
third party acceptable to NOAG, and that NOAG will only
look to that principal for payment
(iv) All Bids are to be made in U.S. currency unless agreed
upon between NOAG and the Bidder; and
(v) At NOAG’s sole discretion, NOAG may require any Bidder
to post a cash deposit in an amount set by NOAG at its sole
discretion. Such deposit may include, without limitation, a
deposit of 25% of the Maximum Bid (or another amount set
in NOAG’s sole discretion) in the case of Absentee Bids
(defined below).
(b). Refusal of admission / Rejection of Bidders. NOAG has the right,
at its complete discretion, to refuse admission to the premises or
participation in any Auction. NOAG reserves the right to reject any
Bidder for any reason whatsoever and in NOAG’s sole discretion.
(c). Absentee bids / Telephone bids.
(i) As a convenience to Bidders, NOAG may allow a Bidder
to submit an absentee bid (“Absentee Bid”) or telephone
bid (“Telephone Bid”) by filling out (in full) the section of the
attached registration form marked “Absentee Bids / Telephone
Bids.” In order to submit an Absentee Bid or Telephone Bid
for an Auction, that registration form must be filled out and
submitted to NOAG no later than 5:00 p.m. central time
on the last business day before the commencement of the
Auction. (NOAG reserves the right to accept late Absentee
Bid or Telephone Bid submissions in NOAG’s sole discretion.)
All Absentee Bid submissions must include a maximum bid
amount (“Maximum Bid”).
(ii) If an Absentee Bid is submitted and accepted, at the time of
the auction of the affected Lot, the Auctioneer or other NOAG
staff will place the Absentee Bid at the amount of the opening
bid amount, and will increase the amount as necessary until
the earlier of (x) the Absentee Bid is the Winning Bid; or (y)
the amount reaches the Maximum Bid. All such actions in this
paragraph are at the sole discretion of the Auctioneer and/
or NOAG. If NOAG receives Absentee Bids on a particular
Lot with identical Maximum Bid amounts, and at the Auction
these are the highest bids on the Lot, the Lot will be sold to
the person whose Absentee Bid was received and accepted
first. In the event of a tie bid between an Absentee Bid and a
Bid submitted by a Bidder physically present at the Auction
(or a Telephone Bid), the Lot will be sold to physically present
Bidder (or bidder submitting the Telephone Bid).

Rev. 01/04/17

(iii) If a Telephone Bid is submitted and accepted, at the time
of the auction of the affected Lot, NOAG staff shall attempt to
contact the Bidder using the telephone number provided. If successfully contacted, the Bidder shall then be afforded the opportunity to place a Bid on the Lot by telephone. Telephone Bids
may be recorded. By submitting a Telephone Bid, the Bidder
consents to the recording of the conversation and the placing
of the Bid.
(iv) Execution of Absentee Bids and Telephone Bids is a free
service undertaken subject to other commitments at the time
of the Auction and neither NOAG nor the Auctioneer shall
have any liability for failing to execute an Absentee Bid or Telephone Bid or for errors and omissions in connection therewith.
(d). Video or digital images. At some Auctions there may be a video or
digital screen. Errors may occur in its operation and in the quality of the
image and we do not accept liability for such errors. NOAG reserves
the right to video tape and record proceedings at any Auctions. Any
personal information obtained will be held in confidence by NOAG
but may be used or shared with our affiliates and marketing partners
for customer analysis purposes and to help us to tailor our services
to buyer requirements. Any Bidder attending an Auction in person
who does not wish to be video-taped may make arrangements
to make a Telephone Bid in accordance with Section 3(c) above.
(e). Reserves. All Lots are offered subject to a reserve, which is the
confidential minimum price below which the Lot will not be sold (the
“Reserve”). The Reserve for a Lot will not exceed the low Estimate
for that Lot. The Auctioneer may open the bidding on any Lot below
the Reserve by placing a bid on behalf of the Seller. The Auctioneer
may continue to bid on behalf of the Seller up to the amount of the
Reserve, either by placing consecutive bids or by placing bids in
response to other bidders. Notwithstanding the foregoing, a Lot may
be sold at a Hammer Price below the Reserve, at the discretion of the
Auctioneer and NOAG, in any manner consistent with the agreement
between NOAG and the Seller.
(f). No bidding by Seller. Under no circumstances shall Seller (as
agent or principal), whether by itself or through its representatives,
employees or agents (except as through the Auctioneer as set forth in
Section 3(e) above), enter or cause to be entered a Bid on Seller’s Lot.
(g). Auctioneer’s discretion. The Auctioneer has the right at his or
her absolute and sole discretion to refuse any Bid, to advance the
bidding in such a manner as he or she may decide, to withdraw or
divide any Lot, to combine any two or more Lots, and in the event of
any error or dispute, to determine the Winning Bid, to continue the
bidding, to cancel the Sale or to reoffer and resell the Lot or item in
dispute. If any dispute arises after the Sale, NOAG’s sale record is
conclusive. Unless otherwise announced by the Auctioneer at the
time of Sale, all Bids are per Lot as numbered in the Catalogue and
no Lot shall be divided for Sale. NOAG and/or the Auctioneer may
withdraw any Lot at any time before such Lot is offered at Auction, for
any reason and in their sole and absolute discretion. (h). Successful
bid and passing of risk. The Auctioneer shall have absolute discretion
in determining the Winning Bid and the striking of the Auctioneer’s
hammer marks the acceptance of the highest and best bid as the
Winning Bid and the conclusion of a contract for sale between the
Seller and the Buyer. Risk and responsibility for the Lot but not its title
passes to the Buyer immediately upon announcement of the Winning
Bid at the Auction. (i). Post-auction sale. In the event that there is
no Winning Bid at Auction for a Lot, or the Lot is withdrawn from
the Auction, or the Sale is cancelled for non-payment pursuant to
Section 4(g) below, NOAG may sell the Lot at public or private sale
at any time thereafter, in a manner consistent with the agreement
between Seller and NOAG. (j). NOAG assumes no responsibility for
failure to execute Bids for any reason whatsoever.

4. After the Auction
(a). In order to consummate and complete the Sale, the Buyer
must tender payment in full of all of the following amounts (all such
amounts together being the “Purchase Price”) to NOAG:
(i) the Hammer Price; and
(ii) the “Buyer’s Premium” consisting of a premium of 25% of the
Hammer Price (discounted to 22% if the method of payment is by
check, cash, or wire transfer [subject to a $30 fee for domestic wires
and a $60 fee for international wires] by the end of the day on the
fifteenth calendar day following the conclusion of the Auction - note
that there is no discount for LiveAuctioneers and Invaluable bidders)
up to and including a Hammer Price of $200,000 and 10% of the
amount by which the Lot’s Hammer Price exceeds $200,000; and
(iii) Any applicable Louisiana, state, local, and federal or other taxes,
calculated as required by law. Any documentation of tax exemption
must be provided by the Bidder contemporaneously with the
execution of the attached registration form.
(b). Payment and passing of title. The Buyer and any other Bidders
are responsible for contacting NOAG for Auction results during the
week after the conclusion of the Auction. Subject to the provisions
of Section 4(i) below which may require earlier payment, the Buyer
must pay the full Purchase Price no later than 4:30 pm central time
on the fifteenth calendar day following the conclusion of the Auction.
Payments may be submitted during business hours to: New Orleans
Auction Galleries, 333 St. Joseph Street, New Orleans, Louisiana
70130, Telephone number: 504-566-1849. Payments may be made by
certified check, cash, wire transfer, or credit card (Visa, Mastercard,
and American Express). Payments will be accepted by non-certified
check only in NOAG’s sole discretion, from Buyers that have been
qualified by NOAG in NOAG’s sole discretion. Title to the Lot does
not pass to the Buyer until the full amount of the Purchase Price has
been tendered and received by NOAG in good cleared funds, even in
circumstances where the Lot has been released to the Buyer.
(c). Credit Cards. Your signature on this form constitutes permission
to charge the full amount of the Purchase Price on your credit card,
if you are the Buyer on a Lot and payment is not received within five
business days of the close of the Auction. Your signature on this
form also constitutes permission to charge the full amount of Storage
Charges (defined below), if and when accrued, on a periodic basis
on your credit card.
(d). Release of Lot to Buyer. No Lot will be released to the Buyer
unless and until NOAG receives full payment of the Purchase Price,
and such payment has cleared and NOAG has received confirmation
of all funds owed. At its sole discretion, NOAG may release a
specific Lot at any time, notwithstanding the foregoing provision.
In addition, NOAG may require that Lots not be released until the
Buyer has cleared additional checks in NOAG’s sole discretion,
including without limitation, any anti-money laundering or antiterrorism financing checks to NOAG’s satisfaction. In the event that
a Buyer fails to complete any anti-money laundering or anti-terrorism
financing checks to NOAG’s satisfaction, NOAG shall be entitled
to cancel the Sale and take any other action permitted or required
under applicable law. In addition, notwithstanding the foregoing,
Lots cannot be released until after the conclusion of the Auction.
(e). Export/Import license and Dealers. It is the Buyer’s sole
responsibility to obtain any relevant export or import license. The
denial of any license or any delay in obtaining licenses shall not
justify the rescission of any sale nor any delay in making bill payment
for the Lot; and shall not limit or alter any of the obligations of the
Buyer herein. Dealers purchasing for resale must enter appropriate
their Dealer Resale Number on the attached registration form and
provide NOAG with proper documentation.
Rev. 01/04/17

(f). Storage charge. Subject to the foregoing provisions, any Lot that
is not picked up by the end of the day on the fifteenth calendar day
following the conclusion of the Auction is subject to an additional
storage charge of $5.00 per Lot per day (“Storage Charge”) for as long
as the Lot is stored at NOAG’s facilities. The outstanding amount of this
Storage Charge must be paid in full (in addition to the Purchase Price)
before such Lot will be released to the Buyer. Such Storage Charge
accrues on a daily basis and is billed monthly. All items handled or
stored will be at the Buyer’s risk. NOAG is not liable for any damage to
Lots after the conclusion of the Auction.
(g). Remedies for non-payment. If the Buyer fails to make payment in
full of the Purchase Price in good cleared funds within the time required
by Section 4(b) above, or payment in full of any applicable Storage
Charge when incurred, NOAG shall be entitled in its absolute discretion
to exercise one or more of the following rights or remedies (in addition to
asserting any other rights or remedies available by law):
(i) to charge outstanding amounts to the Buyer’s credit card;
(ii) to charge interest at the rate of one and one-half percent
(1.5%) per month (but not to exceed the highest amount
chargeable under applicable law);
(iii) to hold the Buyer liable for the total amount due and to
commence legal proceedings for its recovery together with
interest, legal fees and costs to the fullest extent permitted
under applicable law;
(iv) to exercise any other remedy or remedies available under
the law, including but not limited to a second sale of said item
in accordance with the provisions of applicable law, including
the subsequent enforcement of any deficiency against the
initial buyer;
(v) to cancel the sale;
(vi) to resell the property publicly or privately on such terms as
we shall think fit;
(vii) to pay the Seller an amount up to the net proceeds payable
in respect of the amount bid by the defaulting Buyer;
(viii) to set off against any amounts which NOAG may owe
the Buyer in any other transactions, the outstanding amount
remaining unpaid by the Buyer;
(ix) where several amounts are owed by the Buyer to NOAG,
in respect of different transactions, to apply any amount paid
to discharge any amount owed in respect of any particular
transaction, whether or not the Buyer so directs;
(x) to reject at any future Auction any Bids made by or on
behalf of the Buyer or to obtain a deposit from the Buyer before
accepting any Bids;
(xi) to exercise all the rights and remedies of a person holding
security and/or privilege over any property in our possession
owned by the Buyer, whether by way of pledge, security
interest or in any other way, to the fullest extent permitted
under Louisiana law (including without limitation under La.
Civil Code art. 3247, La. R.S. 10:7-209 and 10:7-210 and other
applicable law), or (xii) to take such other action as NOAG
deems necessary or appropriate. In connection with the item
(xi) above, the Buyer will be deemed to have granted such
security to NOAG and NOAG may retain the affected Lot and
any property of the Buyer as collateral security for such Buyer’s
obligations to NOAG and to the Seller

If we resell the property under Section 4(g)(vi) above, the Buyer shall be
liable for payment of any deficiency between the total amount originally
due to us and the price obtained upon resale as well as for all costs,
expenses, damages, legal fees and commissions and premiums of
whatever kind associated with both sales or otherwise arising from
the default. If we pay any amount to the Seller under paragraph (vii)
above, the Buyer acknowledges that NOAG shall have all of the rights
of the Seller, however arising, to pursue the Buyer for such amount.
(h). Shipping and packing. All shipping, packing, and transportation of
Lots from NOAG’s facilities is the responsibility of Buyer. NOAG may,
as a courtesy, assist Buyer with necessary arrangements, but by doing
so, NOAG assumes no responsibility or liability for shipping, packing,
moving, or transportation, including without limitation damage to Lots,
damage to Buyer’s vehicle, or any personal injury of any persons
involved.
(i). Earlier payment may be required. For any specific Lot, and
notwithstanding the provisions of Section 4(b) above, NOAG may
require, in its sole discretion, that the Hammer Price for the Lot be
paid immediately upon the striking of the Auctioneer’s hammer and
announcement of the Winning Bid, with the balance of the Purchase
Price being due by the close of the Auction.

5.Copyright
The copyright in all images, illustrations and written material
produced by or for NOAG relating to a Lot including without limitation
the contents of the Catalogue, is and shall remain at all times the
property of NOAG and shall not be used by the Buyer or Bidder,
nor by anyone else, without our prior written consent. NOAG and
the Seller make no representation or warranty that the Buyer of
a Lot will acquire any copyright or other reproduction rights in it.

6. Severability
If any part of these Conditions of Sale is found by any court to be invalid,
illegal or unenforceable, that part shall be discounted and the rest of
the conditions shall continue to be valid to the fullest extent permitted
by law.

7. Data Collection
In connection with the operation of our auction business, NOAG may
need to seek personal information from Bidders or obtain information
about Bidders from third parties (e.g., credit checks from banks). Such
information will be processed and kept by us in confidence. Some of
Bidders’ personal data may also need to be shared with third party
service providers (e.g., shipping or storage companies) for Bidders’
benefit. By participating in an Auction, you agree to all previously stated
disclosure.

8. Law and Jurisdiction
The rights and obligations of the parties with respect to these Conditions
of Sale, the conduct of the Auction and any matters connected with any
of the foregoing shall be governed and interpreted under the laws of the
State of Louisiana. By bidding at the Auction and/or through execution
of the attached registration form, the Bidder consents to the exclusive
jurisdiction of the courts of the State of Louisiana and the Federal
courts of the United States of America located in the Eastern District of
Louisiana.

Business Name: ______________________________________________________________________________
Dealer Resale # (Dealers must also sign official State of Louisiana document): _______________________________
Address: ____________________________________________________________________________________
City: _____________________________________________

State: ____________ ZIP: ___________________

Telephones: Work (_____)_____________ Home (______)______________ Fax (______)_______________
E-mail Address: _________________________________________________________________________________
Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries catalogue.
Placing a telephone bid and/or absentee bid in the auction constitutes acceptance of all Conditions of Sale posted
by NOAG as amended by any posted notices or oral announcements during the sale.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$
$
$
$
$
$
$
$
$
VISA / MasterCard #: ____________________________________________ Expiration Date: _____________
CVV #: _______________
I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 25%
up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire
transfer [subject to a $30 fee for domestic wires and a $60 fee for international wires], the buyer’s premium shall be discounted 3%
of this 25%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 25%
buyer’s premium, if payment is not received within five days of the auction.

Signature (Required): ___________________________________________________________________
Please fax this form by 5:00 p.m. the day before the auction to 504-566-1851
or scan and email to info@neworleansauction.com